h20rider

I have a vintage single cutaway hollowbody acoustic archtop. It has a set neck. The action is medium-medium-low. I get a fretbuzz on almost all strings when fretting just above 12. It clears up for the final frets after 15. Yes, the problem is occurring where the neck joint is, but the set looks really sound. The fretboard does seem to angle up very slightly at this point. By the way, the end of the fretboard is, by design, off the body. That is, there is an intentional gap between the fretboard/and the body. I just got the instrument and it came with electric strings (9s). A replaced them with acoustic 12s. I tecj adjusted the truss rod, and I didn't notice the buzz then. I didn't notice it with the light strings, but then again I didn't get into the upper registers. Could the neck have settled into a buzz based on the new string tension. Readjust truss rod? Go to lighter strings? Avoid playing up there?...(I don't like that one) Thanks for any help The tech is on vacation and I'm anxious to figure this out.

Thanks a lot! The suggestions are very useful...as is the advisory about heat and pearloid. I'lltry your method Setch.

I have a 64 Harmony thinline with rosewood fretboard and rectangular inlays. Some of the inlays slightly depressed on one side and slightly elevated above fretboard level on the other. Sort of a bipolar disorder kind of thing for you fans of mental disorders. In any case, is there a way to rectify this situation without fret removal and major surgery (another medical reference). I haven't done any inlay work, but have a steady hand with small tools. Perhaps gentle heating witha heatgun will loosen the inlays sufficiently tp ease out. Then cleanin them up, and reglueing.....? Thanks in advance for helpful ideas...and warnings.

Whew! A lot of replies!!!

Okay...I gave up and took it to a tech. $5 will get you $10 that by the time this is all taken care of, it'd be cheaper to buy a small concert hall and just get the natural reverb acoustics. I think the Disney Hall may be up for sale.

Just send me your address and I'll send you enought to do a couple of guitars. Chalk it up to international relations. G'day

Yes, but I'm sure the cost would be well worth it! Meanwhile I seem to learning just enough to be dangerous! Thanks

Point well takem LoveKraft. Thanks. I've reinstalled. Another setback though. I just plugged it all in. Very little if any reverb effect...but some tone changes when tone knobs are adjusted. Signal gets to amp when reverb is on. Most importantly, however, is that the transformer heated up and crackled some. I confess I replaced a really decrepit power cord since my last turn on. Suggestions? I hate to take it to a tech and lose it for 2 months.

Forget about a Fender acoustic. They seem to just market those to fill out their catalog and catch the occasional unsuspecting Fender enthusiast. Martin is a safe bet, but try some names as well. For a lot less money you may find a very sweet sounding instrument. If money isn't a huge issue, consider a boutique brand like Santa Cruz. They are consistently well made...they don't make that many each year. By the way, e-bay is a rugged place to buy an instrument unless you are willing to gamble. It is always best to actually hear the instrument you are considering. In any case, best of luck.

Those tip files are a great investment! They are just useful to have around, Even if you're not going to slot...or you have good slotting files, this little set is nice for other little jobs.

I was able to buy a large roll of copper foil on e-bay for about $8. The foil you find there won't usually have adhesive on the back, but actually I find it easier to work with. I don't know what shipping wouild be to Australia though, so it might not end up being that cheap. Good Luck

There shouldn't be a 1uF@400V cap anywhere in an unmodified 6G15: http://www.schematicheaven.com/fenderamps/..._6g15_schem.pdf There's a pair of .1uF caps in the original (output coupling caps), just like in the reissue. Out of curiosity, why are you replacing these caps if they're not electrolytics?

Lovecraft, Thanks! Regarding the replacement of the nonelectrolytics...Perhaps I shouldn't. I've been under the impression that replacement of all caps was a good idea. Unfortunately the leads are cut so short (close to the body) that resoldering them seems problematic. Will it damage the cap (plastic molded) to get solder up next to it...perhaps I can save them. Otherwise, I have orange drops of 0.1mf. Also, any idea why the old ones are labeled as they are. On "The Pedal Doctor" site, he has a picture of the blue caps in question. There's a hint of a decimal point, but it is hard to tell if it is that or just a speck. Mine DEFINITLY do not have a decimal point. In any case, I really appreciate the response.

I'm replacing the capacitors in an original 64 Fender reverb unit Model 6G15. There are two blue molded capacitors labeled 1mfd 400v. Although this would seem to be one microfarad at 400 volts, these are pretty uncommon capacitors. They are not electrolytic. I can't find a 1 mf capacitor on the schematic. The reissue model has two 0.1 mf at 400 v listed, but that is the reissue. Anyone have any knowledge of this? Thanks

Very good advice. I appreciate it.

I'm using vintage (60's) DeArmond poled pick-ups in a hollow body. I think the pots are 250K. What's the best overall set of capacitor values for the tone controls? While I've got the wiring harness out...any additional things I could do....volume control mods? Simple explanations are appreciated. Also, anyway to boost the output of these old pick-ups? Thanks in advance.

Mattia is right. I had used some heat, but was being too cautious. Almost scalding water was necessary for this 3-ply pickguard. Even then, it had to be muscled into the new -- make that, RENEWD -- shape. Cool water applied while keeping it in preferred shape finished the reformation. No shinkage is noted, nor was there any cloudiness caused by the heating. BE CAREFUL though. Go slowly and be conservative at first. You can always apply more heat...but if you overheat, you'll cause a greater problem than the the original. Lightweight pickguards are much more sensitive to the heat effects.

A 60's hollowbody I recently picked up has had a another clearcoat application applied. I don't know when it went on, but it is poorly done. Some body areas were issufficiently covered, and there are some splatters that are mainly visible at an angle with light. I want to improve this situation. Suggestions as to best method for a new clearcoat. (Over a light burst finish). Since I don't know the first finish material, nor the second clearcoat material, I'm thinking a polyurethane. Prior to this I imagine I need to use very, very fine sandpaper or 0000 steelwool to even and make the surface matte. (Let me know, if and where I'm going wrong here.....). Finally, a good quality spray of new clearcoat. May need to repeat process. Thanks in advance for reading and giving any suggestions...including brands to use. H20

I have a floating VINTAGE 3 ply pickguard from a n archtop that is warped. The surface layer is tortoise. As so many seem to do over the 1/2 century of life, this one has become somewhat concave (dished in). I want to flatten it and even go a bit convex (slight bulge out). I tried a bit of heat and gentle bending, but was cautious because of my experience that heated plastics can take on a white cloudiness. Any thoughts...suggestions...? Since it is the original,I want to be very careful and conservative in my approach....but it looks terrible the way it is now. Thanks in advance for the responses. H20

Thanks for the suggestions, Joe. I went to that site...still pretty sophisticated for my knowledge of these things. I admit, I almost need a LEGGO style set of directions. Best

Shield everything you can think of and then look for more. Make sure the shielding has electrical continuity (will carry a signal) and is grounded to the strings (either through the bridhe sctres on a hardtail or the tremelo claw anchor on a tremelo set up). Don't let the shielding touch bare wires or connection points for your pots, jack, etc....otherwise, no sound will eminate from your nice new pick-ups. There's shield paint, adhesive backed tape, or foil. I use copper foil. Hope this helps.

So, I just bought a tube driven spring reverb unit from a Hammond organ. I understand that it's basically what was in the free standing Fender reverb units. There's an input and an output jack, two leads with male RCA connectors, and a power cord. I want to set it up as an external reverb for my Bassman head. The power is obvious, plugging into the courtesy outlet on the amp. I suspect the guitar would go through the input to output before going to the amp. Question is: How do I modulate the amount of reverb effect? I imagine I need 1 or 2 pots somewhere in here with caps. Also, what about shutting it off. Whould I need to disconnect the guitar and go straight to the amp...or could the signal go passively through the reverb. I appreciate ideas. (even if they involve giving up on the whole idea...) Best to all, H20

I put a Gotoh Wilkenson on my new strat. As you may know, it is a floating trem bridge. I just put two springs in and the plate is flush with the body surface. Should it ride higher? My last guitar had a strat vintage bridge that that leaned forward (angled away from the body surface). Any reference material you know of for the recommended height? In a way I like it against the body since it seems to be a good stop to help keep it in tune. But there's no back pull on the whammy bar. Thanks in advance.

It's really pretty simple. A single layer of the t-shirt material should slip under the knob edge from the side. Slip it as far around the underside of the knob as possible, then strat to twist the shirt material near the knob until it forms a sort of rope. Pull this directly away from the pikguard. The idea is to give you some leverage without anything hard or sharp (like a screwdriver) marking the pickguard or knob surface. I hope this helps.

Verryyyyy careful drilling did the trick! All is fine now. And "Lovecraft", thanks for the added info on shielding. Best to all, P.S. What's all this "donation" notation I see?